Lioncello Novo

(New little lion)

Ballo

Domenico, De Arte [Pd], 1455

Triples

Intermediate (at practice)



I	A1	1-8	All: 2 Saltarelli on left, right	Saltarelli together, then W start alternating Dopii	Lioncello Novo on the same old tune, for two men with one woman in the middle. ¶ First, the said two men with the woman in the middle do two Saltarelli in quadernaria time, and the men stop		Lionzello novo sul medsemo canto vechio eu homni dui con una dona in mezo ¶ Mprima dicti dui homini cum la dona in mezo fano tempi due de saltarello in mexura quadernaria e aftermase li homini
	A2	1-4	Woman: Dopio forward on left		Then the woman moves from the middle of them with one dopio on the left foot and stops :		poi la dona se parte de mezo loro cum uno dopio sulpe sinistro e aftermase :
		5-8	Men: Dopio forward on left		The said two men follow the woman with a dopio moving even with her :		Li dicti dui homini siegueno poi la dona cun uno dopio andagando equale alei :
	A3	1-4	Woman: Dopio forward on right		Then the woman moves from the middle of them and goes forward with one dopio on the right foot and stops		poi la dona se parte de mezo loro. e va inanti cun uno dopio sul pe drito e afermase
		5-8	Men: Dopio forward on right		And the said two men follow her with one dopio on the right foot moving even with the woman, and stop :		eli dicti dui homini la siegueno cum uno dopio sul pe drito andagando equale a la dona e afirmanse :
	B1	1-6	Woman: 3 Pive starting on left, circling man on left	W circles each M with Pive, Sempii		The woman departs moving around these two men in the manner of an S, doing eight tempi of piva, of which the fourth and the eighth are made with two sempii on the right and each of these said two passi done between the said two men and then the said woman stops in the middle.		La dona se parte andagando intorno a quisti due homini aguisa de uno .S. fazando tempi octo de piva deliquali el quarto e lo octavo se fa impassi dui sempij suso el pe drito e cadauno dedicti dui passi se fanno in mezo dedicti dui homini e afermase poi dicta dona in mezo loro
		7-8	Woman: 2 Sempii on right, left, ending between the men
	B2	1-6	Woman: 3 Pive starting on right, circling man on right
		7-8	Woman: 2 Sempii on left, right, ending between the men
	C1	1-8	Men: 2 Saltarelli up on left, right	M: Saltarelli, Voltatonda	Now note that both men separate from the company, doing two tempi of saltarello beginning on the left foot in quadernaria time		Or nota che li homini separteno tutti dui de compagnia fazando y tempi diu de saltarello comenzando al pe sinistro inmexurea qudernaria
		9-12	Men: Voltatonda doing 3 Sempii and a Meza Ripresa (left, right, left-cut-left)		with a voltatonda beginning with the left foot, consisting of three passi sempii and a meza ripresa and they stop.		cum vna volta tonda comenzando dal pie sinistro unde gli consiste passi tri sempij e una meza represa afirmandose.
	C2	1-8	Woman: 2 Saltarelli up on left, right	W: Saltarelli, Mezavolta	Then the woman follows them with two tempi of saltarello beginning on the left foot		poi la dona li sieque cum tempi dui de saltarello comenzando dal pe sinistro
		9-12	Woman: Mezavolta doing 4 Sempii starting on left, ending facing down		and four passi sempii performing in these said four steps a mezavolta to find herself facing the opposite of the men		e quatro pasi sempij dagando in cho de dicti quatro passi una mezavolta per ritrouarse guardare al contrario deli homini
	D1	1-6	All: 3 Contrapassi on left (Men go up, woman goes down)	All: Contrapassi, Mezavolta, that again	Next, note that all three move in one instant and doing three dopii on the left foot and		Apresso nota che tutti tri se moueno inuno instante e facdendo dupij tri sulpe sinistro et
		7-8	All: Mezavolta left and Posada on right (left-right-point)		in the end of the third they do a posada on the right in empty time, performing a mezavolta		in capo del terzo fano una posada suso el drito intempo vuodo dagando una mezavolta
	D2	1-6	All: 3 Contrapassi on left (Men go down, woman goes up, end with woman in middle)			but the woman goes to the opposite of the men that is they forward and she backward returning the said two men and the woman with these same said dopii and posada, and the woman finds herself between the men facing opposite them		andagando pero la dona al contrario deli homini cioe loro inanti e lei indrieto ritornando dicti dui homini et dona cum quilli medesmi dicti dupij e posada e ritrouandose la dona inmezo de li homini guardando al contrario loro
		7-8	All: Mezavolta left and Posada on right (left-right-point)
	E1	1-6	Woman: Dopio on left (going down)	W start alternating Dopii	Note that the woman separates from the men in reverse to them making a doppio on the left foot and stops		Nota che le dona separte da li homni arouerso di loro fazando uno dopio sul pe sinistro e afermase
		7-12	Men: Dopio on left (going up)		The said two men go forward with one doppio on the left foot and stop		li dicti dui homini vano inanti cum uno dopio sul pe sinistro e afermanse
		13-18	Woman: Dopio on right		The woman goes also to her own way with one doppio on the right and stops		La dona va pur ala sua via cum vno dopio sul pe dritto e afermase
		19-24	Men: Dopio on right		Then the said two men go their way opposite to the woman with one doppio on the right foot		poi li dicti dui homini vano pur ala lor uia contrarii de la dona cum uno dopio sul pe drito
		25-36	All: Mezavolta turning right into Riprese left, right (facing opposite at a distance)	Mezavolta into Riprese LR, Continenze, Riverenza	Next note that in the said instance the two men and the woman do a mezavolta on the right foot, looking face to face making two riprese beginning on the left foot		Apresso nota che in instanti dicti dui homini e dona danno una mezavolta sul pe drito riguardandose a volto a volto fazando represe due comenzando col pe sinistro
	F1	1-6	All: Continenze left, right		two continenze		continentie due e
		7-12	All: Riverenza on left		one riverenza on the left, the said two men stop		riverentia vna suso el sinistro afermandose dicti dui homini
		13-18	Woman: Dopio on left	W start alternating Dopii, M end second with Mezavolta	Now note that the woman moves and goes toward the men with one dopio on the left foot and stops		Or nota che la dona se muove e va incontra li homini cum vno dopio sul pe sinistro e afermase
		19-24	Men: Dopio on left		Then the men go towards the woman with one doppio on the left foot and stop		poi li homini vano incontra la dona cum vno dopio sul pe sinistro e afermanse
		25-30	Woman: Dopio on right		and the woman comes toward the men with a doppio on the right foot and stops		e la dona vene incontra li homini cum uno dopio sul pe drito e afermase
		31-36	Men: Dopio on right; Mezavolta on left		The men go towards the woman with one doppio on the right foot going one mezavolta on the said foot		Li homini vano incontra ala dona cum vno dopio sul pe dritto dagando una mezavolta suso dicto pe
		37-42	All: Riverenza on left	Riverenza, Movimenti	and finding the woman equal in between they all do at the same time a riverenza on the left foot		e trouandose hauere La dona equale in mezoloro fazando tutti inseme una riverentia sul pe sinistro
	G1	1-3	Woman: Movimento		then the woman does one movimento of half time		poi la dona si fa uno mouimento de mezo tempo
		5-6	Men: Movimento		and the men respond with one other and it is done		eli homini ge respondeno cum uno altro et e fine
261002 1705

Notes

Reconstruction. At B2 7-8 I have the 2 Sempii starting on the left. While this disregards the text saying the 8th tempo contains two Sempii on the right, it follows the natural weight changing sides after an odd number of weight-alternating steps in B1.

Reconstruction. In D1, the 3 Dopii all the left foot are Contrapassi; this is the same step used at this point in Lioncello Vecchio. The fourth Contrapasso from Vecchio is replaced by a Mezavolta and Posada. The Posada is described by Brainard as “a sudden halt between movement sequences after which the dancer ‘spreads wings like a falcon’ and glides into the next passage, it is used in the choreographies as a non-movement, i.e. a moment of repose filled with the same energy as any one of the steps.